42 Going for the Sounds But, as regards the finely textured note-to-note nature of my statements, an order was mostly guaranteed by the path’s for- mal construction, like the diminished scale’s alternating half steps and whole steps, or a superimposed arpeggio. I wasn’t really doing much note-to-note selectional work at all. I decided where to start every run, which to choose, how fast to play it. But, we’d say, no intended aim was given to each and every particular next pitch. I began to enter melodically into the play when I started try- ing to do something that related back to something I’d just done, and/or play something that I’d then try to restate, in rela- tion to a new next chord. Such successively shifted replications make up a family of practices that generate a large percentage of melodic gesturing in all music. Imagine that a course of several notes is played during the tenure of a particular chord and, when a next chord comes up in a couple of beats, say one second, a new sequence is done that relates to this new chord just as the first fragment related to the first. Such a practice helps characterize essential features of this interim stage in my development. In my earliest pathway play, what I did on any chord was decided by the choice of an appropriate fitting run de novo, one chord at a time. Now there was a change. I first did things like this, playing notes from here:
But, as regards the finely textured note-to-note nature of
mystatements, an order was mostly guaranteed by the paths for-mal
construction, like the diminished scales alternating halfsteps and
whole steps, or a superimposed arpeggio.
I wasnt really doing much note-to-note selectional work atall. I
decided where to start every run, which to choose, howfast to play
it. But, wed say, no intended aim was given to eachand every
particular next pitch.
I began to enter melodically into the play when I started
try-ing to do something that related back to something Id justdone,
and/or play something that Id then try to restate, in rela-tion to
a new next chord. Such successively shifted replicationsmake up a
family of practices that generate a large percentageof melodic
gesturing in all music.
Imagine that a course of several notes is played during
thetenure of a particular chord and, when a next chord comes upin a
couple of beats, say one second, a new sequence is donethat relates
to this new chord just as the first fragment relatedto the first.
Such a practice helps characterize essential featuresof this
interim stage in my development.
In my earliest pathway play, what I did on any chord wasdecided
by the choice of an appropriate fitting run de novo, onechord at a
time. Now there was a change. I first did things likethis, playing
notes from here:
